Sentences with phrase «reading audience for their works»

Authors must think globally about where their translation investment would produce the largest reading audience for their works.

Not exact matches

Figure out what technique works best for you, whether it's interviewing colleagues, writing about current events, emulating the top thought leaders in your field, or surveying your own audience to find out what they want to read.

These diverse writers each had very different target audiences, disparate life circumstances and specific agendas for their work; so we don't approach each book the same way — for the same reason you wouldn't read a poem about leaves the same way you read a botany textbook.

«We further theorize that the essential difference between collaborative group work and direct instruction is that students learn about the «self as agent and others as (the) audience,»» a hypothesis explored in another paper by Zhang's co-authors, Richard C. Anderson, director of the Center for the Study of Reading, and graduate student Joshua A. Morris, both of the U. of I.

Academy - award winning director William Friedkin discusses his early career — including making documentaries for David L. Wolper, working for Alfred Hitchcock and what he learned from studying his films, and directing his first movie Good Times (1967), starring Sonny and Cher; how his career path led to making The Exorcist, his initial reaction to reading the source material, the story's theme of Good versus Evil, and the role his own faith played in his approach to making the movie; the techniques he used to generate suspense and fear in the audience, his use of subliminal imagery, and his reasons for recently restoring deleted footage to the film.

But the Christopher Nolan film worked for audiences and critics, and now is firmly in the awards - season firmament (in fact, Nolan so far has received more Best Director prizes from critics groups than any other filmmaker this... Read

Differentiation: purple = lower ability blue = middle ability yellow = higher ability Resources prepare students for answering Q1 and Q2 and cover the following: - introduction to paper 2 - expectations and timings - identifying key information in 19th century and modern texts - identifying the point of view of a writer - inferring - exploring how language creates tone - complete true or false tasks (as per the exam) for the texts read - explore the term synthesis - synthesise information from 2 texts - work in pairs and groups - explore model answers - investigate these of connectives to synthesise - self and peer assess - develop vocabulary and analyse vocabulary in texts using inference - explore audience and purpose Regular assessments are included to assess students ability in true or false and synthesis tasks.

Differentiation: purple = lower ability blue = middle ability yellow = higher ability Resources prepare students for answering Q1 and Q2 and cover the following: - structure strip to help form better responses to question 2 (synthesis)- introduction to paper 2 - expectations and timings - identifying key information in 19th century and modern texts - identifying the point of view of a writer - inferring - exploring how language creates tone - complete true or false tasks (as per the exam) for the texts read - explore the term synthesis - synthesise information from 2 texts - work in pairs and groups - explore model answers - investigate these of connectives to synthesise - self and peer assess - develop vocabulary and analyse vocabulary in texts using inference - explore audience and purpose Regular assessments are included to assess students ability in true or false and synthesis tasks.

Read the article 10 Best Project Management Online Tools For eLearning Professionals to discover the best Project Management online tools that can help you streamline your work process and create engaging eLearning experiences for your audienFor eLearning Professionals to discover the best Project Management online tools that can help you streamline your work process and create engaging eLearning experiences for your audienfor your audience.

Certain techniques were flagged up «no hands rule; use of mini-white boards, Kagan, learning environments that are supporting; bolstering self - esteem; positivity; curiosity; creativity; identify students to lead plenary at end of lesson at the beginning; Get class blogging — quadblogging; tallies for whole class rewards; encouraging independent learning; wait time when questioning; talk about their thinking and reasoning; conversational learning; talk with learning partners before answering any questions; pair and share; Glazer learning model structure for lesson delivery — a good mix of interaction and independent work; offering choice to pupils; cross class working; allowing time to play; list / describe / explain / evaluate; new audiences beyond the school; project based learning and philosopy; swapping age - groups; cross-curricular working; read to them every day; invite varied guests in; learning by discovery using pupils» interests; stand back and watch with purpose.

Short Fuse is a regular event in Brighton and Leicester which showcases local writers reading their work onstage for a paying audience and judging panel.

I've been interested in these kinds of design - oriented, working meetings for a long time now, and I increasingly believe that if we are going to spend resources to bring people together, it's much better to have them build something then talk to one another (or read papers while the audience checks their email).

Work Zone Data Collection & Analysis: What, Why, and How This podcast is a companion to the Work Zone Safety Data Collection and Analysis Guide, which was also developed under the Work Zone Safety Grant and is available at http://www.workzonesafety.org/research/record/27339 podcast was developed to assist State DOT construction engineers, traffic control plan developers, planners, and designers with collecting data in preparation for developing work zone strategies, designing a safe work zone, and creating an effective plan for managing traffic in and around work zones... read more Intended audience: State DOT construction engineers, traffic control plan developers, planners, and designWork Zone Data Collection & Analysis: What, Why, and How This podcast is a companion to the Work Zone Safety Data Collection and Analysis Guide, which was also developed under the Work Zone Safety Grant and is available at http://www.workzonesafety.org/research/record/27339 podcast was developed to assist State DOT construction engineers, traffic control plan developers, planners, and designers with collecting data in preparation for developing work zone strategies, designing a safe work zone, and creating an effective plan for managing traffic in and around work zones... read more Intended audience: State DOT construction engineers, traffic control plan developers, planners, and designWork Zone Safety Data Collection and Analysis Guide, which was also developed under the Work Zone Safety Grant and is available at http://www.workzonesafety.org/research/record/27339 podcast was developed to assist State DOT construction engineers, traffic control plan developers, planners, and designers with collecting data in preparation for developing work zone strategies, designing a safe work zone, and creating an effective plan for managing traffic in and around work zones... read more Intended audience: State DOT construction engineers, traffic control plan developers, planners, and designWork Zone Safety Grant and is available at http://www.workzonesafety.org/research/record/27339 podcast was developed to assist State DOT construction engineers, traffic control plan developers, planners, and designers with collecting data in preparation for developing work zone strategies, designing a safe work zone, and creating an effective plan for managing traffic in and around work zones... read more Intended audience: State DOT construction engineers, traffic control plan developers, planners, and designwork zone strategies, designing a safe work zone, and creating an effective plan for managing traffic in and around work zones... read more Intended audience: State DOT construction engineers, traffic control plan developers, planners, and designwork zone, and creating an effective plan for managing traffic in and around work zones... read more Intended audience: State DOT construction engineers, traffic control plan developers, planners, and designwork zones... read more Intended audience: State DOT construction engineers, traffic control plan developers, planners, and designers.

The texts, created by writing school students, were displayed on the screen for the audience to read along as the editors worked their way through the copy, exposing their candid editorial responses and rationales for what they recommended doing to the content.

Best way to figure out what works for any audience is read websites / blogs / forums with authors of that genre who are actively promoting.

Whether they have little time to read, have long commutes, or just have a preference for audio over text, you have a chance of gaining a whole new, previously unreachable audience just by offering your work as an audiobook.

The biggest news, though, is that we're working with a number of major publishers (and important smaller ones) to provide a storefront that contains deluxe digital graphic novels aimed at the «real mainstream,» the audience for graphic novels that reads Maus or Fun Home or Dotter of Her Father's Eyes but would never think of going into a comic shop guarded by a dodgy life - size statue of She - Hulk... We think the immersive «lean back» experience that tablets provide, along with purchase ease - of - use and the ubiquitous availability that app stores provide, can, if handled right, create a sea change in the consumption of graphic novels — and, if we have our way, the whole thing will have absolutely * nothing * to do with superheroes.

Some reviewers feel that it is overly long and repetitious and a tad didactic, but that is perhaps to lose sight of the fact that it wasn't written in a Western language or, in the first instance, for a Western audience, but for a Kenyan audience still familiar with the oral tradition - in Kenya his works are often read aloud over a period of (many!)

When read from an English / Western perspective there is some justification for this viewpoint, but it should be remembered that the book was not written in a Western language or, in the first instance, for a Western audience, but for a Kenyan audience still familiar with the oral tradition - in Kenya, Wa Thiong «o's works are often read aloud over a period of (many) days.

Blogging book reviews gets the blogger an audience who is interested in reading book reviews, not an audience for this work of fiction.

Some genres or categories of work are ideal for self - publishing efforts because the audience or market is already primed to discover their next read through online channels.

Whether it's offering manga for free reading online to promote book sales as Viz Media is doing, offering chapter previews of each volume as Tokyopop is doing or simply offering manga to buy cheap - ish through devices such as the iPad, be it as a new reader or an owner of the paper book, there're some initiatives that seem to be working well for their audience.

As more and more writers turn to the freedom of digital publishing to put their works in front of reading audiences, more authors may be lured into realizing their goals of writing a book, which is precisely where NaNoWriMo fits in for many debut authors.

Although the audience for more scholarly works might be smaller and have unique needs, that... [Read more...]

RWOWA provides a platform where members, through networking, may polish and constructively critique works - in - progress, resulting in exceptional romance fiction for our reading audience, which is not only limited to West Africa, but reaches out worldwide.

The work should be accessible to a general reading audience (i.e., not written for a specialized or academic audience).

While these programs are good for readers, they may not always be the most beneficial for authors, except in that they expand the reading (not necessarily buying) audience for your work.

It does no one any favors — not writers, copy editors, or the reading audience — to create expectations that editors will work for the laughably low pay that you claim they will.

The feedback I get from those who have read it shows that I am on target with my audience; most say they can't wait for the next one (which I am working on.)

The reason traditionally published authors & the traditional publishing side has such disdain for self - publishing is not because anyone & everyone CAN do it, but because MOST of the ones who DO IT have self - published either unpublishable garbage OR have taken a manuscript with great potential & published it without decent editing & revision (both of which seriously hinder the enjoyment of the reading audience - not an issue if you're a hobby writer who just wants to entertain family & friends, but a serious issue for anyone who thinks that that sort of thing can hold its own against carefully revised & edited work).

Select a topic and identify your audience, find material for the thesis writing, read the works which are related to your thesis topic.

Many websites and blogs also accept pitches for articles, so if you have a site where you think the audience could be a good fit for your work, be sure to clearly read over the guidelines before contacting the editor.

Some genres or categories of work are ideal for self - publishing efforts because the audience or market is already primed to consume things digitally and to discover their next read through online channels.

For emerging authors, if you are completely brand - new to the industry and do not have your fan base, chances are you can expect the vast majority of audience to read your work especially during the free days.

By comparison, eBooks may bring new audiences for scholarly works, but even they face this fundamental challenge: the difficulty of getting people to read anything.

2018 Galerie Max Hetzler, Berlin Galerie Greta Meert, Brussels Aspen Art Museum, Aspen 2017 Marian Goodman Gallery, New York Nature & Politics Saint Louis Art Museum, Saint Louis Figure Ground Haus der Kunst, Munich (catalogue) Nature & Politics Moody Center for the Arts - Rice University, Houston 2016 Nature & Politics Museum Folkwang, Essen (traveled to Martin - Gropius - Bau, Berlin; High Museum, Atlanta)(catalogue) 2015 Galerie Rüdiger Schöttle, Munich Galleria Monica De Cardenas, Milan Marian Goodman, London 2014 Thomas Struth - Photographs Metropolitan Museum of Art, New York Rineke Dijkstra & Thomas Struth: Seeing Henry Art Gallery, Seattle Cristina Iglesias & Thomas Struth Ivory Press, Madrid Galerie Max Hetzler, Berlin Five Works Nederlands Fotomuseum, Rotterdam Marian Goodman Gallery, New York 2013 Stiftung zur Förderung zeitgenössischer Kunst, Weidingen / Eifel 2012 St. Petersburg Schirmer / Mosel Showroom, Munich Galleri K, Oslo 2011 Thomas Struth, Fotografien 1978 — 2010 Museu Serralves, Porto; traveled from: Whitechapel Gallery, London; K20, Düsseldorf; Kunsthaus Zürich, Zurich (catalogue) 2010 Situation Kunst, Bochum Thomas Struth, Korea 2007 — 2010 Gallery Hyundai, Seoul New Works Galerie Max Hetzler, Berlin Marian Goodman Gallery, New York (catalogue) 2009 Paradises Frieze Art Fair 2009 - DB VIP Lounge, London Museum of Cycladic Art, Athens 2008 Galleria Monica de Cardenas, Zuoz Galerie Meert - Rihoux, Brussels Museo d'Arte Contemporanea Donna Regina — MADRe, Naples Familienleben SK Stiftung Kultur, Cologne; traveled to: De Pont Museum of Contemporary Art, Tilburg (catalogue) Family Portraits Galerie Paul Andriesse, Amsterdam 2007 Making Time Marian Goodman Gallery, New York Making Time Galerie Max Hetzler, Berlin Making Time Museo del Prado, Madrid (catalogue) 2006 Thomas Struth — Rineke Dijkstra Galerie Xippas, Athens Galerie Meert - Rihoux, Brussels 2005 Audience, Read This Like Seeing It For The First Time (Video work in collaboration with The Bern Academy of Music) Marian Goodman Gallery, New York Museum Photographs 1987 - 2004 Galleri K, Oslo Audience Galerie Paul Andriesse, Amsterdam Imágenes el Perú Museo de Arte Lima, Lima Arbeiten aus Peru Galerie Max Hetzler, Berlin Audience Galerie Rüdiger Schöttle, Munich 2004 Pergamon Museum I - VI Hamburger Bahnhof - Museum für Gegenwart, Berlin (catalogue) Une Heure: Video Portraits CAPC - Musée d' Art Contemporain de Bordeaux, Bordeaux 2003 1977-2002 Museum of Contemporary Art, Chicago Metropolitan Museum of Art, New York Cities Marian Goodmann Gallery, Paris Strassen Galleri K, Oslo Pergamon Musum I - VI Galleria Monica de Cardenas, Milan 2002 Pergamon I — IV Marian Goodman Gallery, New York 1977 - 2002 Dallas Museum of Art, Dallas; MOCA - Museum of Contemporary Art, Los Angeles (catalogue) New Pictures from Paradise Staatliche Kunstsammlungen Dresden; Centro de Fotografía, Universidad de Salamanca (catalogue) Galerie Rüdiger Schöttle, Munich 2001 Pictures from the Dandelion Room Schirmer / Mosel Showroom, Munich (catalogue) Galerie Max Hetzler, Berlin (catalogue) Galerie Meert - Rihoux, Brussels 2000 My Portrait National Museum of Modern Art, Tokyo; traveled to: National Museum of Modern Art, Kyoto; Galleri K, Oslo (catalogue) Galerie Shimada, Tokyo 1999 Galleria Monica de Cardenas, Milan Still Centre National de la Photographie, Paris Gallery Shimada, Tokyo The Berlin - Project (with Klaus vom Bruch) Hamburger Kunstverein, Hamburg New Pictures from Paradise Marian Goodman Gallery, New York; Marian Goodman Gallery, Paris 1998 The Berlin - Project (with Klaus vom Bruch) Kunstmuseum Luzern, Luzern Still Carré d'Art, Musée d'Art Contemporain, Nîmes; Stedelijk Museum, Amsterdam (catalogue) Centro Galego de Are Contemporanea, Santiago de Compostela Galerie Meert - Rihoux, Brussels Nouveau Portraits Marian Goodman Gallery, Paris 1997 Face to Face (with Luo Yongijn) Fine Arts Foundation of Beijing; International Art Palace, Peking (catalogue) Portraits Sprengel Museum, Hanover (catalogue) Achenbach Kunsthandel, Düsseldorf (with Cindy Sherman) The Berlin - Project (with Klaus vom Bruch) Galerie Max Hetzler, Berlin Marian Goodman Gallery, New York Nieuw Werk Galerie Paul Andriesse, Amsterdam 1996 Valocuvia Fotografier Kluuvin Galleria, Helsinki (catalogue) Galerie Shimada, Tokyo 1995 Strangers and Friends Art Gallery of Ontario, Toronto (catalogue) Strassen Kunstmuseum Bonn, Bonn (catalogue) Neue Arbeiten Galerie Max Hetzler, Berlin Oeuvre récentes Galerie Marian Goodman, Paris Landschaften Galerie Shimada, Yamaguchi 1994 Strangers and Friends Institute of Contemporary Art, Boston; ICA - Institute of Contemporary Arts, London (catalogue) Marian Goodman Gallery, New York Galerie Meert - Rihoux, Brussels 1993 Museum Photographs Hamburger Kunsthalle, Hamburg (catalogue) Galleria Monica de Cardenas, Milan Photographien aus Deutschland Galerie Shimada, Yamaguchi The Saint Louis Art Museum, St. Louis Marian Goodman Gallery, New York Galerie Max Hetzler, Cologne 1992 Portrait Museum Haus Lange, Krefeld (catalogue) Directions Hirshhorn Museum and Sculpture Garden, Washington D.C. Galerie Max Hetzler, Cologne 1991 Galerie Meert - Rihoux, Brussels House - Street - Individual - Group Galerie Shimada, Yamaguchi 1990 Photographs The Renaissance Society, University of Chicago, Chicago (catalogue) Portrait and Museum Photographs Marian Goodman Gallery, New York Galerie Paul Andriesse, Amsterdam Giovanni Minelli, Paris Urbi et Orbis, Paris 1989 The Clocktower, New York (with Andreas Gursky) Halle Sud, Geneva Galerie Peter Pakesch, Vienna Neue Bilder Galerie Max Hetzler, Cologne 1988 Galerie Meert - Rihoux, Bruxelles Neapel and Tokyo Galerie Rüdiger Schöttle, Munich Portikus, Frankfurt / Main (with Siah Armajani) 1987 Unconscious Places Kunsthalle Bern, Bern; Westfälisches Landesmuseum Münster, Münster (with Siah Armajani); Prefectural Museum of Art, Yamaguchi; Fruitmarket Gallery, Edinburgh (catalogue) Tokyo und Münster Galerie Max Hetzler, Cologne 1986 Galerie Shimada, Yamaguchi 1985 Galerie Rüdiger Schöttle, Munich 1980 Galerie Rüdiger Schöttle, Munich Stadtmuseum Düsseldorf, Düsseldorf (with Roswitha Ronkholz) 1978 PS1 - Contemporary Art Center, Long Island Cfor the Arts - Rice University, Houston 2016 Nature & Politics Museum Folkwang, Essen (traveled to Martin - Gropius - Bau, Berlin; High Museum, Atlanta)(catalogue) 2015 Galerie Rüdiger Schöttle, Munich Galleria Monica De Cardenas, Milan Marian Goodman, London 2014 Thomas Struth - Photographs Metropolitan Museum of Art, New York Rineke Dijkstra & Thomas Struth: Seeing Henry Art Gallery, Seattle Cristina Iglesias & Thomas Struth Ivory Press, Madrid Galerie Max Hetzler, Berlin Five Works Nederlands Fotomuseum, Rotterdam Marian Goodman Gallery, New York 2013 Stiftung zur Förderung zeitgenössischer Kunst, Weidingen / Eifel 2012 St. Petersburg Schirmer / Mosel Showroom, Munich Galleri K, Oslo 2011 Thomas Struth, Fotografien 1978 — 2010 Museu Serralves, Porto; traveled from: Whitechapel Gallery, London; K20, Düsseldorf; Kunsthaus Zürich, Zurich (catalogue) 2010 Situation Kunst, Bochum Thomas Struth, Korea 2007 — 2010 Gallery Hyundai, Seoul New Works Galerie Max Hetzler, Berlin Marian Goodman Gallery, New York (catalogue) 2009 Paradises Frieze Art Fair 2009 - DB VIP Lounge, London Museum of Cycladic Art, Athens 2008 Galleria Monica de Cardenas, Zuoz Galerie Meert - Rihoux, Brussels Museo d'Arte Contemporanea Donna Regina — MADRe, Naples Familienleben SK Stiftung Kultur, Cologne; traveled to: De Pont Museum of Contemporary Art, Tilburg (catalogue) Family Portraits Galerie Paul Andriesse, Amsterdam 2007 Making Time Marian Goodman Gallery, New York Making Time Galerie Max Hetzler, Berlin Making Time Museo del Prado, Madrid (catalogue) 2006 Thomas Struth — Rineke Dijkstra Galerie Xippas, Athens Galerie Meert - Rihoux, Brussels 2005 Audience, Read This Like Seeing It For The First Time (Video work in collaboration with The Bern Academy of Music) Marian Goodman Gallery, New York Museum Photographs 1987 - 2004 Galleri K, Oslo Audience Galerie Paul Andriesse, Amsterdam Imágenes el Perú Museo de Arte Lima, Lima Arbeiten aus Peru Galerie Max Hetzler, Berlin Audience Galerie Rüdiger Schöttle, Munich 2004 Pergamon Museum I - VI Hamburger Bahnhof - Museum für Gegenwart, Berlin (catalogue) Une Heure: Video Portraits CAPC - Musée d' Art Contemporain de Bordeaux, Bordeaux 2003 1977-2002 Museum of Contemporary Art, Chicago Metropolitan Museum of Art, New York Cities Marian Goodmann Gallery, Paris Strassen Galleri K, Oslo Pergamon Musum I - VI Galleria Monica de Cardenas, Milan 2002 Pergamon I — IV Marian Goodman Gallery, New York 1977 - 2002 Dallas Museum of Art, Dallas; MOCA - Museum of Contemporary Art, Los Angeles (catalogue) New Pictures from Paradise Staatliche Kunstsammlungen Dresden; Centro de Fotografía, Universidad de Salamanca (catalogue) Galerie Rüdiger Schöttle, Munich 2001 Pictures from the Dandelion Room Schirmer / Mosel Showroom, Munich (catalogue) Galerie Max Hetzler, Berlin (catalogue) Galerie Meert - Rihoux, Brussels 2000 My Portrait National Museum of Modern Art, Tokyo; traveled to: National Museum of Modern Art, Kyoto; Galleri K, Oslo (catalogue) Galerie Shimada, Tokyo 1999 Galleria Monica de Cardenas, Milan Still Centre National de la Photographie, Paris Gallery Shimada, Tokyo The Berlin - Project (with Klaus vom Bruch) Hamburger Kunstverein, Hamburg New Pictures from Paradise Marian Goodman Gallery, New York; Marian Goodman Gallery, Paris 1998 The Berlin - Project (with Klaus vom Bruch) Kunstmuseum Luzern, Luzern Still Carré d'Art, Musée d'Art Contemporain, Nîmes; Stedelijk Museum, Amsterdam (catalogue) Centro Galego de Are Contemporanea, Santiago de Compostela Galerie Meert - Rihoux, Brussels Nouveau Portraits Marian Goodman Gallery, Paris 1997 Face to Face (with Luo Yongijn) Fine Arts Foundation of Beijing; International Art Palace, Peking (catalogue) Portraits Sprengel Museum, Hanover (catalogue) Achenbach Kunsthandel, Düsseldorf (with Cindy Sherman) The Berlin - Project (with Klaus vom Bruch) Galerie Max Hetzler, Berlin Marian Goodman Gallery, New York Nieuw Werk Galerie Paul Andriesse, Amsterdam 1996 Valocuvia Fotografier Kluuvin Galleria, Helsinki (catalogue) Galerie Shimada, Tokyo 1995 Strangers and Friends Art Gallery of Ontario, Toronto (catalogue) Strassen Kunstmuseum Bonn, Bonn (catalogue) Neue Arbeiten Galerie Max Hetzler, Berlin Oeuvre récentes Galerie Marian Goodman, Paris Landschaften Galerie Shimada, Yamaguchi 1994 Strangers and Friends Institute of Contemporary Art, Boston; ICA - Institute of Contemporary Arts, London (catalogue) Marian Goodman Gallery, New York Galerie Meert - Rihoux, Brussels 1993 Museum Photographs Hamburger Kunsthalle, Hamburg (catalogue) Galleria Monica de Cardenas, Milan Photographien aus Deutschland Galerie Shimada, Yamaguchi The Saint Louis Art Museum, St. Louis Marian Goodman Gallery, New York Galerie Max Hetzler, Cologne 1992 Portrait Museum Haus Lange, Krefeld (catalogue) Directions Hirshhorn Museum and Sculpture Garden, Washington D.C. Galerie Max Hetzler, Cologne 1991 Galerie Meert - Rihoux, Brussels House - Street - Individual - Group Galerie Shimada, Yamaguchi 1990 Photographs The Renaissance Society, University of Chicago, Chicago (catalogue) Portrait and Museum Photographs Marian Goodman Gallery, New York Galerie Paul Andriesse, Amsterdam Giovanni Minelli, Paris Urbi et Orbis, Paris 1989 The Clocktower, New York (with Andreas Gursky) Halle Sud, Geneva Galerie Peter Pakesch, Vienna Neue Bilder Galerie Max Hetzler, Cologne 1988 Galerie Meert - Rihoux, Bruxelles Neapel and Tokyo Galerie Rüdiger Schöttle, Munich Portikus, Frankfurt / Main (with Siah Armajani) 1987 Unconscious Places Kunsthalle Bern, Bern; Westfälisches Landesmuseum Münster, Münster (with Siah Armajani); Prefectural Museum of Art, Yamaguchi; Fruitmarket Gallery, Edinburgh (catalogue) Tokyo und Münster Galerie Max Hetzler, Cologne 1986 Galerie Shimada, Yamaguchi 1985 Galerie Rüdiger Schöttle, Munich 1980 Galerie Rüdiger Schöttle, Munich Stadtmuseum Düsseldorf, Düsseldorf (with Roswitha Ronkholz) 1978 PS1 - Contemporary Art Center, Long Island CFor The First Time (Video work in collaboration with The Bern Academy of Music) Marian Goodman Gallery, New York Museum Photographs 1987 - 2004 Galleri K, Oslo Audience Galerie Paul Andriesse, Amsterdam Imágenes el Perú Museo de Arte Lima, Lima Arbeiten aus Peru Galerie Max Hetzler, Berlin Audience Galerie Rüdiger Schöttle, Munich 2004 Pergamon Museum I - VI Hamburger Bahnhof - Museum für Gegenwart, Berlin (catalogue) Une Heure: Video Portraits CAPC - Musée d' Art Contemporain de Bordeaux, Bordeaux 2003 1977-2002 Museum of Contemporary Art, Chicago Metropolitan Museum of Art, New York Cities Marian Goodmann Gallery, Paris Strassen Galleri K, Oslo Pergamon Musum I - VI Galleria Monica de Cardenas, Milan 2002 Pergamon I — IV Marian Goodman Gallery, New York 1977 - 2002 Dallas Museum of Art, Dallas; MOCA - Museum of Contemporary Art, Los Angeles (catalogue) New Pictures from Paradise Staatliche Kunstsammlungen Dresden; Centro de Fotografía, Universidad de Salamanca (catalogue) Galerie Rüdiger Schöttle, Munich 2001 Pictures from the Dandelion Room Schirmer / Mosel Showroom, Munich (catalogue) Galerie Max Hetzler, Berlin (catalogue) Galerie Meert - Rihoux, Brussels 2000 My Portrait National Museum of Modern Art, Tokyo; traveled to: National Museum of Modern Art, Kyoto; Galleri K, Oslo (catalogue) Galerie Shimada, Tokyo 1999 Galleria Monica de Cardenas, Milan Still Centre National de la Photographie, Paris Gallery Shimada, Tokyo The Berlin - Project (with Klaus vom Bruch) Hamburger Kunstverein, Hamburg New Pictures from Paradise Marian Goodman Gallery, New York; Marian Goodman Gallery, Paris 1998 The Berlin - Project (with Klaus vom Bruch) Kunstmuseum Luzern, Luzern Still Carré d'Art, Musée d'Art Contemporain, Nîmes; Stedelijk Museum, Amsterdam (catalogue) Centro Galego de Are Contemporanea, Santiago de Compostela Galerie Meert - Rihoux, Brussels Nouveau Portraits Marian Goodman Gallery, Paris 1997 Face to Face (with Luo Yongijn) Fine Arts Foundation of Beijing; International Art Palace, Peking (catalogue) Portraits Sprengel Museum, Hanover (catalogue) Achenbach Kunsthandel, Düsseldorf (with Cindy Sherman) The Berlin - Project (with Klaus vom Bruch) Galerie Max Hetzler, Berlin Marian Goodman Gallery, New York Nieuw Werk Galerie Paul Andriesse, Amsterdam 1996 Valocuvia Fotografier Kluuvin Galleria, Helsinki (catalogue) Galerie Shimada, Tokyo 1995 Strangers and Friends Art Gallery of Ontario, Toronto (catalogue) Strassen Kunstmuseum Bonn, Bonn (catalogue) Neue Arbeiten Galerie Max Hetzler, Berlin Oeuvre récentes Galerie Marian Goodman, Paris Landschaften Galerie Shimada, Yamaguchi 1994 Strangers and Friends Institute of Contemporary Art, Boston; ICA - Institute of Contemporary Arts, London (catalogue) Marian Goodman Gallery, New York Galerie Meert - Rihoux, Brussels 1993 Museum Photographs Hamburger Kunsthalle, Hamburg (catalogue) Galleria Monica de Cardenas, Milan Photographien aus Deutschland Galerie Shimada, Yamaguchi The Saint Louis Art Museum, St. Louis Marian Goodman Gallery, New York Galerie Max Hetzler, Cologne 1992 Portrait Museum Haus Lange, Krefeld (catalogue) Directions Hirshhorn Museum and Sculpture Garden, Washington D.C. Galerie Max Hetzler, Cologne 1991 Galerie Meert - Rihoux, Brussels House - Street - Individual - Group Galerie Shimada, Yamaguchi 1990 Photographs The Renaissance Society, University of Chicago, Chicago (catalogue) Portrait and Museum Photographs Marian Goodman Gallery, New York Galerie Paul Andriesse, Amsterdam Giovanni Minelli, Paris Urbi et Orbis, Paris 1989 The Clocktower, New York (with Andreas Gursky) Halle Sud, Geneva Galerie Peter Pakesch, Vienna Neue Bilder Galerie Max Hetzler, Cologne 1988 Galerie Meert - Rihoux, Bruxelles Neapel and Tokyo Galerie Rüdiger Schöttle, Munich Portikus, Frankfurt / Main (with Siah Armajani) 1987 Unconscious Places Kunsthalle Bern, Bern; Westfälisches Landesmuseum Münster, Münster (with Siah Armajani); Prefectural Museum of Art, Yamaguchi; Fruitmarket Gallery, Edinburgh (catalogue) Tokyo und Münster Galerie Max Hetzler, Cologne 1986 Galerie Shimada, Yamaguchi 1985 Galerie Rüdiger Schöttle, Munich 1980 Galerie Rüdiger Schöttle, Munich Stadtmuseum Düsseldorf, Düsseldorf (with Roswitha Ronkholz) 1978 PS1 - Contemporary Art Center, Long Island City

The power of these works lies in the dual intended experience: one for an Arabic - reading audience and one for a non-Arabic-reading audience.

Again, the paper had the appropriate disclaimers, but it looks like Tim Palmer decided to «simplify» things for the «benefit» of the audience, so how are journalists and the public (who don't even get to read the paper) supposed to work out what it really means?

, a free weekly email newsletter for solo practitioners and those who manage and work in small law firms, give this award to one article every week that they feel is a must - read for this audience.

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